Tuesday, April 10, 2007

Why Ayn Rand's esthetics is the basis for my writing on art

When discussing the theory of art in Outdoor Monuments of Manhattan: A Historical Guide, I cited only Ayn Rand's esthetics. An early reader suggested I "balance" the presentation by mentioning other writers on esthetics.
But here's the problem: no one surpasses or even equals Ayn Rand in the field of esthetics. Rand treats art with the same rigor she applies to metaphysics, epistemology, ethics and politics. She begins her discussion by stating what art is and what purpose it serves for human beings. Her definition, "a selective re-creation of reality based on an artist's metaphysical value-judgments," indicates that an artist chooses his subject and style based on what he considers important, and creates something recognizable so that others will see it and grasp his message: "This matters - pay attention to this."
Rand lays out the fundamentals of the field of esthetics. Using her definition of art plus her theory of knowledge (see Introduction to Objectivist Epistemology), one can determine what is and is not art: driftwood, paint splattered on a canvas, the Parthenon frieze? One can determine the esthetic requirements for good art: Is a portrait by Rembrandt better than one by Picasso in his Cubist phase? One can even explain why people often react so violently to works of art: "It repulses me but I can't turn away!"
I have read hundreds of books by art critics and historians, many of whom have an encyclopedic grasp of their subject and descriptive abilities that make me wildly jealous. Not one of them offers a proper definition of art. The fifth edition of Janson's widely used History of Art, for example, says a work of art is "an esthetic object" and that "esthetic" means "that which concerns the beautiful." The term is, he promptly admits, unsatisfactory, but "will have to do for lack of a better one."
When I'm visiting a gallery or reading a novel, I can and do revel in art without first subjecting it to rigorous esthetic analysis. I've found, though, that I can extend my enjoyment if I think about a particular work as well. For purposes of thinking about art and conveying my ideas to others, a proper definition is indispensable. In that respect, I have found Ayn Rand's essays on esthetics in Romantic Manifesto, Art of Fiction, Art of Nonfiction, and Ayn Rand Answers (the esthetics section) invaluable and irreplaceable.
This entry appears on the Forgotten Delights site FAQ page, with further references.

1 comment:

I've had Outdoor Monuments of Manhattan on my wish list ever since it came out. As of now it is no longer on that wish list because you've convinced me that it will be an excellent addition to my library, one that I couldn't do without.

Although I can't claim any expertise in the field of the arts I would definitely agree with your assessment of Rand's value. Her ability to cut through the fog of today's understanding of aesthetics was incredible. I'm glad to see her importance hasn't been lost on everyone. I've thoroughly enjoyed your articles from The Objective Standard and look forward to more and now I can look forward towards your book.

It is my hope that once Rand's philosophy of Objectivism has made a significant influence upon our culture more attention will be paid towards her views on aesthetics.

About Me

Freelance lecturer on art history for 20+ years. Author of Outdoor Monuments of Manhattan: A Historical Guide (New York Univ. Press, 2007 - now available in stores and on Amazon) and Forgotten Delights: The Producers (2003).